1,529 research outputs found
«Io giungo all’essere e a me stesso». Le prime opere di Francesco Lo Savio, 1957-1959
No full textThe main aim of the article is to explain the beginning of the Roman painter Francesco Lo Savio’s career from 1957 to 1959. This part of his production has long been unknown because it was considered too distant from the mature works. During those years Lo Savio is still tied to his training in Informal Art. Moreover, the work of this period also show influences coming from American art, in particular, from the pictorial research of Mark Rothko. This essay illustrates why these works should be considered an important step, although germinal, in Lo Savio’s painting career. Just by analyzing the origins of his painting, it is possible to understand the next steps of his work. The works at the end of 1958 and early 1959 are, in fact, the start of his artistic path that will result in Space-Light paintings a few months later.The main aim of the article is to explain the beginning of the Roman painter Francesco Lo Savio’s career from 1957 to 1959. This part of his production has long been unknown because it was considered too distant from the mature works. During those years Lo Savio is still tied to his training in Informal Art. Moreover, the work of this period also show influences coming from American art, in particular, from the pictorial research of Mark Rothko. This essay illustrates why these works should be considered an important step, although germinal, in Lo Savio’s painting career. Just by analyzing the origins of his painting, it is possible to understand the next steps of his work. The works at the end of 1958 and early 1959 are, in fact, the start of his artistic path that will result in Space-Light paintings a few months later
Origini russe del monocromo
No full textTalking about monochrome painting is a complex issue, due to the impossibility of considering it as a pictorial genre with unique characteristics, and due to the difficulty of framing the variety of artists who can be ascribed, in different ways, to this movement. This essay is intended to be a historical-critical reflection on the initial phase of monochrome painting, in order to clarify how the pictorial roots of modern monochrome are to be found in the context of the experiences relating to abstraction in the early 1900s, in particular, in Malevič and Rodčenko. Although this genesis is well-known, highlighting the ambivalences of the beginnings can contribute to enrich our perception of the “tradition of the new” in many of its dualisms.Talking about monochrome painting is a complex issue, due to the impossibility of considering it as a pictorial genre with unique characteristics, and due to the difficulty of framing the variety of artists who can be ascribed, in different ways, to this movement. This essay is intended to be a historical-critical reflection on the initial phase of monochrome painting, in order to clarify how the pictorial roots of modern monochrome are to be found in the context of the experiences relating to abstraction in the early 1900s, in particular, in Malevič and Rodčenko. Although this genesis is well-known, highlighting the ambivalences of the beginnings can contribute to enrich our perception of the “tradition of the new” in many of its dualisms
Francesco Lo Savio. Colore Luce Spazio
No full textSiamo a Roma, alla fine degli anni '50, quando la scena artistica italiana è in grande fermento. Uno dei protagonisti del dibattito sul rinnovamento delle arti è Francesco Lo Savio, tra le personalità più problematiche dell'avanguardia post-informale italiana. Lo Savio è partecipe della rivoluzione, non solo italiana ma internazionale, di una generazione di giovani artisti che vogliono distaccarsi dalla precedente cultura informale per approdare a un nuovo meccanismo di costruzione dell'opera d'arte, incentrato sulle qualità insite alla pittura stessa
La critica multiforme. Gillo Dorfles sulle pagine di aut aut
No full textNel 1951 il filosofo Enzo Paci fonda la rivista “Aut Aut”. Nonostante la rivista sia rivolta principalmente a studi filosofici, Paci decide di nominare capo redattore il critico d’arte Gillo Dorfles. L’apporto di Dorfles alla rivista è duplice, da un lato articoli su temi diversi: l’estetica, la percezione, l’astrazione; dall’altro l’impegno a recensire le edizioni della Biennale di Venezia. Il contributo analizza la capacità di Dorfles di comprendere, e raccontare, i nodi cruciali del mondo dell’arte attraverso la Biennale per tutti gli anni Cinquanta e Sessanta e parallelamente porta alla luce le diverse tematiche di cui il critico si occupa sulle pagine di “Aut Aut”
The history of the Romano famili and "Angelo, tyran de Padoue" by Victor Hugo.
No full textreservedVictor Hugo, nel dramma Angelo, tyran de Padue, ricama tre diverse epoche storiche: i primi decenni dell’Ottocento, a lui contemporanei; la metà del Cinquecento, prescelta per lo svolgimento dell’azione drammatica; il tardo Medioevo evinto dai personaggi principali che compongono il racconto. Tuttavia, l’interesse storico e prettamente romantico verso il periodo medievale assume in quest’opera una rilevanza primaria. Tra le tante casate del nord Italia nominate dall’autore nell’opera, una su tutte sembra essere davvero simbolica. Particolarmente interessante è stato comprendere come la storia della famiglia da Romano costituisca il fulcro della costruzione drammaturgica. Ezzelino III e Cunizza da Romano sono elevati a emblema della poetica romantica e divengono funzionali al messaggio politico e sociale dell’autore.Victor Hugo, in his play Angelo, tyran de Padue, embroiders three different historical epochs: the first decades of the 19th century, contemporary with him; the middle of the 16th century, chosen for the unfolding of the dramatic action; and the late Middle Ages evoked by the main characters in the story. However, the historical and purely romantic interest in the medieval period takes on primary importance in this work. Of the many northern Italian lineages named by the author in the work, one in particular seems to be truly symbolic. It was particularly interesting to understand how the history of the da Romano family forms the core of the dramaturgical construction. Ezzelino III and Cunizza da Romano are elevated to emblems of romantic poetics and become functional to the author's political and social message
Michael Angelo Caruso, international author, consultant, and speaker on Campus
No full textTollefson, Elizabeth. (2013). Michael Angelo Caruso, international author, consultant, and speaker on Campus. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/223386
Oltre i confini della razionalità
No full text- Il contributo di Angelo Volpe prende in esame fondamentalmen-te due oggetti: primo, la potenzialità indiscussa nella sociologia contemporanea degli approcci individualistici e razionali e, secondo, la necessità di trascendere la gabbia stessa della razionalità e di andare oltre. Ciò che l’autore auspica è la realizzazione di un “modello a spettro intero” per l’analisi dei fatti sociali, un modello che possa espandere il raggio d’azione della comprensione sociologica al di là di ciò che possiamo vedere e misurare razionalmente.
- The contribution of Angelo Volpe essentially examines two objects: first, the unquestioned potentiality in contemporary sociology of individualistic and rational approaches, and, second, the need to transcend the very cage of rationality and go further. What the author hopes is the realization of a "full-spectrum model" for the analysis of social events, a model that can expand the scope of sociological understanding beyond what we can see and measure rationally
Michael Angelo Buonarroti,
No full textAppendix: "Three dialogues on painting composed by Francisco d'Ollanda, a Portuguese miniature painter who was in Rome in the year 1538. Tr. ... with the help of Mr. A. J. Clift, by Charles Holroyd. The manuscript was published for the first time in Renasçenca portugueza, no. VII, Porto, 1896.""The works of Michael Angelo": p. 281-283."A list of the principal books consulted by the author": p. 285-286.Mode of access: Internet
Nanocrystalline TiO2 by sol–gel: Characterisation and photocatalytic activity on Modica and Comiso stones
No full textA self-cleaning photocatalytic coating for limestone materials, based on TiO2 nanoparticles obtained by the sol–gel process has been studied. TiO2 sol was applied directly to the surface or after a SiO2 intermediate layer. The selected test materials are the Modica and the Comiso calcarenites, limestones of Ragusa Formation outcropping in the South Eastern Sicily (Italy).
SEM–EDS, XRD and Raman investigations were carried out to characterise the TiO2 nanoparticles and coating. Nanocrystalline anatase and, to a lesser extent, brookite forms are obtained. To evaluate the harmlessness of the treatment, colorimetric tests, water absorption by capillarity and crystallisation of salts measurements were performed.
Photocatalytic activity of the TiO2 colloidal suspension and of the coatings (TiO2 and SiO2/TiO2) was assessed under UV irradiation through methyl orange dye degradation tests.
The results show good photodegradation activity and satisfactory compatibility between the sol and the surface of the investigated limestones
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